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architecture and design magazineTue, 03 Mar 2015 18:51:02 +0000en-UShourly1http://wordpress.org/?v=4.1Studio Zero85's hilltop house and studio for an artist is covered in ridged terracotta tileshttp://www.dezeen.com/2015/02/21/terracotta-artist-studio-italy-studio-zero85/
http://www.dezeen.com/2015/02/21/terracotta-artist-studio-italy-studio-zero85/#commentsSat, 21 Feb 2015 12:00:24 +0000http://admin.dezeen.com/?p=650102Bumpy terracotta tiles clad the gabled volume of this combined artist's studio and family home in the Italian countryside designed by Studio Zero85 (+ slideshow). Home Studio for an Artist is a long gabled dwelling set on the crest of a grassy hill in Manoppello, an agricultural municipality with a rolling landscape that borders the Adriatic Sea. Related story: Knowspace builds […]

Studio Zero85's concept was to create a simple volume that would accommodate both a home and studio within one space, but would also fit in with the regional architecture.

"The formal purity takes the shape of barns and houses land extensively in the area," said the design team.

The outer walls and roof are covered in rusty-orange tiles, while a glazed wall framed with white paintwork forms one end.

The building's orangey "brick-skin" is made from Tavelle tiles– a type of slim hollow brick made from baked clay. These were split in half to reveal their ridged insides before being applied to the facade, adding texture to the otherwise simple shape.

"Observing the territory, with the presence of the houses of clay and their chromatic relationship with its surroundings, suggested the idea of using the brick," said Studio Zero85.

Two double-height spaces occupy either end of the linear building – one is a living room that overlooks a small patio and pool, while the other houses the artist's studio.

Windows on opposite sides of this studio offer the artist a suitable amount of natural light for working.

"The openings guarantee a horizontal light in the studio and at the same time frame of the views of particular landscape suggestion," added the team.

An H-shaped wooden structure was built around the entrance hall in the centre of the building – separating the two end spaces.

At ground level, recesses within this structure create a kitchen, bathroom and stairwell alongside the living space, and a library and utility room for the studio.

Upstairs, three bedrooms and a bathroom are connected by a timber bridge that overlooks the living room.

]]>http://www.dezeen.com/2015/02/21/terracotta-artist-studio-italy-studio-zero85/feed/0The University of Queensland opens engineering facility with a louvred terracotta facadehttp://www.dezeen.com/2014/10/29/university-of-queensland-australia-engineering-building-richard-kirk-hassell-terracotta-facade/
http://www.dezeen.com/2014/10/29/university-of-queensland-australia-engineering-building-richard-kirk-hassell-terracotta-facade/#commentsWed, 29 Oct 2014 22:00:36 +0000http://admin.dezeen.com/?p=578630Hundreds of terracotta panels shade the sunny northern facade of this new engineering building at the University of Queensland in Australia, designed by architects Richard Kirk and Hassell (+ slideshow). Brisbane architect Richard Kirk and Australian firm Hassell teamed up to deliver the Advanced Engineering Building (AEB) at the university's Brisbane campus, designed to showcase […]

]]>Hundreds of terracotta panels shade the sunny northern facade of this new engineering building at the University of Queensland in Australia, designed by architects Richard Kirk and Hassell (+ slideshow).

Brisbane architect Richard Kirk and Australian firm Hassell teamed up to deliver the Advanced Engineering Building (AEB) at the university's Brisbane campus, designed to showcase the latest technologies through both its design and its facilities.

Varying combinations of timber, steel, terracotta and glass were used for different facades to control levels of daylight inside the building – which combines classrooms and lecture halls with research laboratories.

Most of the labs are located along the southern elevation to ensure regular levels of daylight, so the facade comprises an array of service ducts.

Meanwhile, the glazed northern facade is screened by terracotta tile louvres that diffuse direct sunlight in the middle of the day.

"The dynamic angled terracotta facade provides optimal shading from the sun and acts as a focal point for the traditional materials used in the building, while providing the AEB with a distinctive character externally and a pleasant ambiance on the inside through a dramatic play of shadows during the day," said the design team in a statement.

The 22,000-square-metre building is organised around a sequence of atrium spaces that extend up through the full height of the structure, overlooked by various staircases, walkways and balconies.

This arrangement – as well as the regular integration of teaching spaces with large-scale manufacturing and civil engineering labs – was intended to encourage students and staff to interact with one another and to learn from other disciplines.

"The study of engineering is very much a hands-on experience, so we needed to create an environment that supports this physical approach," explained Hassell principal Mark Loughnan.

"The building's design encourages students to constantly engage with research and practical learning," he said. "Even the research labs, which have traditionally been hidden from view, are on display to passers-by."

The structure is mostly rectangular in plan, apart from a large auditorium that projects out from the south-east corner. Framed by large-span timber trusses, this hall can seat up to 500 students and offers views across the university's lakes.

Passive sustainability features were added to reduce energy consumption. As well as the louvred northern facade, which can be adapted to suit different conditions, the building makes use of natural ventilation and controlled daylighting.

]]>http://www.dezeen.com/2014/10/29/university-of-queensland-australia-engineering-building-richard-kirk-hassell-terracotta-facade/feed/1FID celebrates native Italian material with Terracotta Everyday collectionhttp://www.dezeen.com/2014/07/02/fid-terracotta-everyday-collection/
http://www.dezeen.com/2014/07/02/fid-terracotta-everyday-collection/#commentsWed, 02 Jul 2014 05:00:12 +0000http://admin.dezeen.com/?p=484186A collective of emerging Italian designers has worked with artisans to create a range of terracotta objects (+ slideshow). Each of the 10 designers in the Federazione Italiana del Design (FID) group teamed up with an artisan to create a simple object for everyday use from terracotta: a material closely linked with Italian culture. Participants […]

]]>A collective of emerging Italian designers has worked with artisans to create a range of terracotta objects (+ slideshow).Charlot by Andrea Sciarrino

Each of the 10 designers in the Federazione Italiana del Design (FID) group teamed up with an artisan to create a simple object for everyday use from terracotta: a material closely linked with Italian culture.

Charlot by Andrea Sciarrino

Participants were free to add other materials, as long as the terracotta featured prominently.

Chimneys by Marta Polenghi

"Terracotta is a very strong element in the culture of Mediterranean countries," Terracotta Everyday participant Marta Polenghi told Dezeen. "In every Italian home there is a vase, or a pot or a table crafted by terracotta artisans. We decided to pay homage to this material and the crafts surrounding it by dedicating a whole exhibition to it."

"It has been really interesting to work with: it's a very alive material that needs to be known well in order to foresee the final result," she continued. "These constraints force designers to set up a dialogue with craftsmen."

Cooler by ECAL and Daniele Bortotto

Designer Andrea Sciarrino worked with craftsman Walter Castelnuovo to create a collection of playful stackable wine stoppers made from terracotta and rubber rings named Charlot, the Italian name for Charlie Chaplin's Little Tramp character.

Cooler by ECAL and Daniele Bortotto

Chimneys, designed by Marta Polenghi and made by La Castellamonte, is a set of outdoor stools made from weather-resistant terracotta with red latex to protect the base and a rope handle for carrying them.

Lampada by Martina Bartoli

"I lived in Paris for two years and was always fascinated by the terracotta chimneys decorating the roofs," said Polenghi. "We used to climb up on the roof of my apartment and sit on the chimneys to enjoy the view. I thought I could use the same shape and material and transform it into a stool for the garden."

Lampada by Martina Bartoli

Daniele Bortotto designed Cooler, an outer container made of partially glazed terracotta and a slightly taller inner container made of copper. Placing ice between the two containers keeps the contents cool and fresh. This product was crafted by Luigi Bertolin of Ceramiche 3B.

Line by Francesca Sciarmella

Laboratorio San Rocco made the Lampada table lamps, designed by Martina Bartoli. The lamps comprise two curves of terracotta, glazed in white on the inside to reflect the light. "They aim to explore the volumes of material and light," said Bartoli.

Line by Francesca Sciarmella

Line by Francesca Sciarmella is a side table with geometric steel legs in white and a terracotta plate made from three detachable parts that can also be used as trays. It was realised by Manifatture Sottosasso.

"In my parents' house we have a terracotta table with metal legs, as in many Italian homes, where we often eat together," said Sciarmella. "I wanted to take the idea of eating together and incorporate a removable section, which can be placed in the middle of the table as a platter or a tray."

Marte by Alessio Monzani

Alessio Monzani's Marte six-legged terracotta side table, made by Boris Proietti of Tethis, features three bowl-like "craters" and an oak structure.

Marte by Alessio Monzani

The Portuguese Stove by Jacopo Sarzi is a redesign of a traditional Portuguese cooking tool used to cook meat and fish, comprising a terracotta dish with a perforated metal lid grill. It was made by Stephanie Sommet.

Squeezer by Jacopo Ferrari

Jacopo Ferrari designed Squeezer, made by Maria Luisa Tribolo in two terracotta parts with a coloured rubber gasket, echoing the design of plastic citrus fruit squeezers found in kitchens around the world. The upper part is unglazed so that it slowly absorbs the flavour of the fruit.

"Every time someone squeezes an orange in my home, its flavour lingers in the air for some minutes. The properties of unglazed terracotta led me to design a squeezer that absorbs and slowly releases the orange flavour," Ferrari told Dezeen. "Apart from that, I tried to design a modest object that would let the beauty of the terracotta stand out."

Tanque by Rui Pereira

Tanque are partially glazed terracotta basins designed by Rui Pereira to be used as vases or aquariums. They feature an internal grid, a removable cork for drainage, and a plinth-like base in granite or Azores pine wood. They were made by Irmãos Regas and Manuel Rêga.

"Tanque was inspired by Milanese street vendors. Every week there is a market on my studio's street and it is amazing to see how vendors create and develop their own stands in order to exhibit fruit and flower, fish and meat," said Pereira. "With this piece I want to freeze this ready-made attitude, paying an homage to the creativity and low use of resources of this men, in order to create functional objects."

Tegola by Giorgia Zanellato

Giorgia Zanellato's Tegola fruit bowl is made from extruded terracotta in a question mark-shaped profile, resulting in an unusual form in which fruit is displayed in one long line. Tegola was made by Ceramiche Milesi.

]]>http://www.dezeen.com/2014/07/02/fid-terracotta-everyday-collection/feed/2Terracotta lamps by Tomas Kralhttp://www.dezeen.com/2013/05/29/terracotta-lamps-by-tomas-kral/
http://www.dezeen.com/2013/05/29/terracotta-lamps-by-tomas-kral/#commentsWed, 29 May 2013 05:00:28 +0000http://admin.dezeen.com/?p=320678Red clay normally used for flower pots and roof tiles has been made into lamps by Slovakian designer Tomas Kral. "The idea is to turn the exterior use of this material and create objects for domestic use," explains Kral. The Terracotta lamps have a matt exterior and are finished with a glossy white glaze inside. Light […]

]]>http://www.dezeen.com/2013/05/29/terracotta-lamps-by-tomas-kral/feed/1Antinori Winery by Archea Associatihttp://www.dezeen.com/2013/05/04/antinori-winery-by-archea-associati/
http://www.dezeen.com/2013/05/04/antinori-winery-by-archea-associati/#commentsSat, 04 May 2013 17:00:49 +0000http://admin.dezeen.com/?p=314802Huge terracotta wine vaults are concealed beneath a vineyard at this winery outside Florence by Italian firm Archea Associati (+ slideshow). Completed at the end of 2012, the 50,000-square-metre Antinori Winery was conceived as an invisible building whose body merges with the folds of the hillside. The tiered roof is entirely covered with farmland and a pair […]

Completed at the end of 2012, the 50,000-square-metre Antinori Winery was conceived as an invisible building whose body merges with the folds of the hillside. The tiered roof is entirely covered with farmland and a pair of sliced openings infilled with glass are all that reveal the presence of the structure.

"The physical and intellectual construction of the winery pivots on the profound and deep-rooted ties with the land, a relationship which is so intense and suffered as to make the architectural image conceal itself and blend into it," says Archea Associati.

Photograph by Pietro Savorelli

The interior of the winery is divided into two main storeys. The lowest levels are dedicated to the storage and production of wine, while the upper level contains visitor facilities that include a museum, a library, an auditorium and areas for wine tasting and shopping.

Photograph by Leonardo Finotti

Circular openings pierce the roof and floors to bring light into the depths of the building. One void contains a spiralling staircase, which connects an upper-level terrace with the vaults below.

Photograph by Pietro Savorelli

These double-height cellars are arranged in three rows and are lined with terracotta on every side. The architects describe the rooms as "the secluded heart of the winery [that] with its darkness and the rhythmic sequence of the terracotta vaults, [conveys] the sacral dimension of a space which is hidden."

Photograph by Pietro Savorelli

The building uses the earth as a natural insulator to maintain a constant indoor climate and keep the wine cool during the warmer summer months.

The site is surrounded by the unique hills of Chianti, covered with vineyards, half-way between Florence and Siena. A cultured and illuminated customer has made it possible to pursue, through architecture, the enhancement of the landscape and the surroundings as expression of the cultural and social valence of the place where wine is produced.

Photograph by Pietro Savorelli

The functional aspects have therefore become an essential part of a design itinerary which centres on the geomorphological experimentation of a building understood as the most authentic expression of a desired symbiosis and merger between anthropic culture, the work of man, his work environment and the natural environment.

Photograph by Pietro Savorelli

The physical and intellectual construction of the winery pivots on the profound and deep-rooted ties with the land, a relationship which is so intense and suffered (also in terms of economic investment) as to make the architectural image conceal itself and blend into it.

Photograph by Pietro Savorelli

The purpose of the project has therefore been to merge the building and the rural landscape; the industrial complex appears to be a part of the latter thanks to the roof, which has been turned into a plot of farmland cultivated with vines, interrupted, along the contour lines, by two horizontal cuts which let light into the interior and provide those inside the building with a view of the landscape through the imaginary construction of a diorama. The facade, to use an expression typical of buildings, therefore extends horizontally along the natural slope, paced by the rows of vines which, along with the earth, form its "roof cover".

Photograph by Pietro Savorelli

The openings or cuts discreetly reveal the underground interior: the office areas, organized like a belvedere above the barricade, and the areas where the wine is produced are arranged along the lower, and the bottling and storage areas along the upper.

Photograph by Pietro Savorelli

The secluded heart of the winery, where the wine matures in barrels, conveys, with its darkness and the rhythmic sequence of the terracotta vaults, the sacral dimension of a space which is hidden, not because of any desire to keep it out of sight but to guarantee the ideal thermo-hygrometric conditions for the slow maturing of the product.

Photograph by Pietro Savorelli

A reading of the architectural section of the building reveals that the altimetrical arrangement follows both the production process of the grapes which descend (as if by gravity) – from the point of arrival, to the fermentation tanks to the underground barrel vault – and that of the visitors who on the contrary ascend from the parking area to the winery and the vineyards, through the production and display areas with the press, the area where vinsanto is aged, to finally reach the restaurant and the floor hosting the auditorium, the museum, the library, the wine tasting areas and the sales outlet.

The offices, the administrative areas and executive offices, located on the upper level, are paced by a sequence of internal court illuminated by circular holes scattered across the vineyard-roof. This system also serves to provide light for the guesthouse and the caretaker's dwelling.

The materials and technologies evoke the local tradition with simplicity, coherently expressing the theme of studied naturalness, both in the use of terracotta and in the advisability of using the energy produced naturally by the earth to cool and insulate the winery, creating the ideal climatic conditions for the production of wine.